By layering this over the base, I could very lightly paint it back into the appropriate areas with a mask (Fig.06). I mostly added it along the edges and where ever the figure would be thinner. The poly-painted, flat-colour pass was then multiplied on top to bring out the details in the model.

Fig. 06

Next I created another fake pass, similar to the sub-dermal layer. To give the skin a little more texture, I took several more images of concrete and put together a texture layer (see Fig.05). The important thing to remember about using this technique is to make sure any grain in your texture images is flowing the right way. If you look at the arms in the texture layer, you can see how I turned the images to match the change in the arm's direction. Once the texture pass is added, I darken some strategic areas to give a bit more depth to the image.

Once the specular layer was screened on, I painted in the volume light and added another blurred specular layer that was set to Overlay and turned way down (Fig.07). This helped give the figures a bit of a glow. A simple gradient background and some strategic shadows finished off the main part of the composite (Fig.08).